This paper introduces a framework that can extract an alpha matte from a single image with Fresnel reflection, and that can composite other objects with the image such that plausible reflections are included. Our method handles reflections in a plane with small undulations, for example, a water surface with waves or a glossy tabletop. During the matting stage, our method first estimates the tra...

In this paper, we formulate the image matting as one of solving energy minimization problems. Our approach has the following advantages. First, the matte estimation is modeled using an energy function as a MRF optimization problem. Second, the energy function combines the gradient of the matte, the gradient of the color and statistical sampling together to achieve global optimization. Third, th...

Image matting is a technique used to extract a foreground object from an input color image by estimating its opacity mask, which is called an alpha matte. Many previous methods have estimated a poor-quality alpha matte when a foreground object and its background have similar colors. To overcome this problem, we treat an image matting problem as a binary classification problem to classify unknow...

In this paper, we formulate the problem of natural image matting as one of solving Poisson equations with the matte gradient field. Our approach, which we call Poisson matting, has the following advantages. First, the matte is directly reconstructed from a continuous matte gradient field by solving Poisson equations using boundary information from a user-supplied trimap. Second, by interactivel...

Image matting aims at extracting foreground from a given image by means of color and alpha estimation. An automatic matting method based on saliency detection was proposed in this paper, which takes the advantages of saliency detection as prior information instead of user interaction. After getting the saliency map, a cost function was constructed to obtain an alpha matte. Moreover, with the in...

The history of digital image compositing—other than simple digital implementation of known film art—is essentially the history of the alpha channel. Distinctions are drawn between digital printing and digital compositing, between matte creation and matte usage, and between (binary) masking and (subtle) matting. The history of the integral alpha channel and premultiplied alpha ideas are presente...

Colours in feathers are produced by pigments or by nanostructurally organized tissues that interact with light. One of the simplest nanostructures is a single layer of keratin overlying a linearly organized layer of melanosomes that create iridescent colours of feather barbules through thin-film interference. Recently, it has been hypothesized that glossy (i.e. high specular reflectance) black ...

All visual sensors, biological and arti cial, are nite in resolution by necessity. This causes the e ective re ectance of surfaces in a scene to vary with magni cation. A reectance model for matte surfaces is described that captures the e ect of macroscopic surface undulations on image brightness. The model takes into account complex physical phenomena such as masking, shadowing and interre ect...

Among other cues, the visual system uses shading to infer the 3D shape of objects. The shading pattern depends on the illumination and reflectance properties (BRDF). In this study, we compared 3D shape perception between identical shapes with different BRDFs. The stimuli were photographed 3D printed random smooth shapes that were either painted matte gray or had a gray velvet layer. We used the...

We investigated how spatial pattern, background, and dynamic range affect perceived gloss in brightly lit real scenes. Observers viewed spherical objects against uniform backgrounds. There were three possible objects. Two were black matte spheres with circular matte white dots painted on them (matte-dot spheres). The third sphere was painted glossy black (glossy black sphere). Backgrounds were ...